Gremlins

‘Tis the season to be jolly, unless you’re a loser. That’s right, the end of 2016 is upon us, and aside from remorselessly swiping David Bowie, Prince, and Natalie Cole from the world of the living, 2016 also installed a boorish orange Philistine into the highest office in the land. There have been numerous watershed elections in U.S. history, but the race that hacked the astringent Trump loogie out of the dankest corner of America’s collective nasal passage and spat him into the Oval Office will surely rank as one of the rankest examples of American democratic excess.

Donald J. Trump — he of the speed-bumped squirrel bouffant and Tang-tinged rice-paper skin — rode a tidal wave of white resentment that allowed him to give high-school swirlys to the aloof establishment nabobs in both political parties. But anyone who cared to pay attention to the festering cloud of amorphous fear mixed with shoulder-chipped resentment that has floated across the Heartland for decades should have noticed that Trump wasn’t some new development in American politics; rather, he’s the culmination of a long-building new American identity: that of the hopelessly besieged.

One seemingly silly movie from the 1980s perfectly envisioned the idea of a besieged America that would push voters into Trump’s charlatan claws some three decades later. I’m talking about the 1984 Steven Spielberg-produced, Joe Dante-directed holiday horror/comedy Gremlins.